Abstract
This article criticizes the art world of Rim Dong-sik from a syncretized perspective of posthumanism and feminism. It would be futile to explain Rim’s outdoor performance art by characterizing him as a natural artist. This is because his work is intrinsically rooted in posthumanistic thinking that views nature as the subject of action on par with humans and also in demasculine attitude that does not exist in Western land art. The demasculine tendency is more pronounced in his paintings, with an affinity for materials that facilitate the portrayal of commonplace scenery, an effort to dismantle the dichotomy between the center and surrounding areas, tactile screens that overthrow visual advantage, and delicate brushstrokes that reject masculine dynamics. The work of tearing down the boundaries between human and nonhuman and between male and female is reminiscent of the hybridity of cyborgs presented by feminist Donna Haraway as an image of defiance against demarcation and gender.
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